29 \(9 Vo ^lays Qxcha nged^ 

W1675 
Copy 1 



AKERS EDITION 



IDOWANNA 



Price, 25 Cents 




WALTER H • BAKER &' CO 

BOSTON 



t ,V^^_ ,Jfcr -ft. -ft, Jt» .ft, .H- Jl. Aj JL 


. Ar-j 


\jk 


^^ J|_ J» ^r JLJ) 


■■.Jfcr-JC-Ar-4 


f 


^ 




' 






J Recent Plays That Have 


*' Gone Over the 


Top" 


^ 


\ ^ 


Wfl/ej 


Femal 


• r«w« Pr«<:e 


Royalty 




it The Adventures of Grandpa 


4 


5 


2 hrs. 25c 


Free 




3 The Air Spy 


12 


4 


xy, " 25c 


Special 




'B The American Flag 


6 


3 


2 « 25c 


Free 




a Captain Cranberry 


8 


3 


2 " 25c 


« 




jj The College Chap 


II 


7 


2 " 25c 


« 




•B The Colonel's Maid 


6 


3 


2 " 25c 


*• 




d The Country Doctor 


6 


5 


2 " 25c 


r( 




J Country Folks 


6 


5 


2 " 25c 


i« 




^ A Couple of Million 


6 


5 


2 " 25c 


;g 10.00 




fl Cranberry Corners 


6 


6 


2 " 25c 


Free 




3 Daddy 


4 


4 


1 y^ " 25c 


(( 




^ The Deacon's Second Wife 


6 


6 


2 «♦ 25c 


« 




ijj The District Attorney 


lO 


6 


2 " 25c 


« 




3 The Dutch Detective 


5 


5 


2 " 25c 


« 




^ An Easy Mark 


5 


2 


y " 15c 


<( 




i Elizabeth's Young Mao 


I 


3 


Yi '• 25c 


« 




j The Elopement of Ellen 


4 


3 


2 " 25c 


« 




^ Engaged by Wednesday 


5 


II 


i^ " 25c 


« 




ID Freddy Goes to College 


4 


2 


K " 25c 


(( 




A A Full House 


3 


3 


Y2 " »5c 


« 




1 The Girl From Upper Seven 


lO 


11 


2 •• 25c 


(( 




ig Grandma Gibbs of the Red Cross 


8 





2 " 25c 


i( 




J Honeymoon Flats 


6 


8 


1J/3 •• 25c 


•• 




\ The Hoodoo 


6 


12 


2 •♦ 25c 


« 




fl The Hurdy Gurdy Girl 


9 


9 


2 " 25c 


(t 




J Johnny's New Suit 


2 


5 


Ya " 25c 


<« 




\ Local and Long Distance 


I 


6 


;<. " 15c 


« 




4 Lost— A Chaperon 


6 


9 


2 '< 25c 


« 




J The Loving Cup 


4 


9 


i^ - 25c 


#5.00 




^ The Man Who Went 


7 


3 


2Y2 " 25c 


Special 




fl Mrs. Briggs of the Poultry Yard 


4 


7 


2 •' 25c 


Free 




j Much Ado About Betty 


lO 


12 


2 " 25c 


« 




^ No Trespassing 


6 


5 


2 " 25c 


« 




B Our Wives 


7 


4 


2 " 25c 


« 




J Pa's New Housekeeper 


-1 


2 


% " »5c 


« 




^ Professor Pepp ~ 


8 


8 


2 1/2 '• 25c 


« 




n The Rebellion of Mrs. Barclay 


3 


6 


'M " 25c 


<( 




J A Regiment of Two 


fc 


4 


2«4 '• 25c 


<( 




^ Sally Lunn 


3 


4 


IK " 25c 


« 




4 The Slacker 


2 


7 


^4: '. 25c 







^ Step Lively 


4 


lO 


2 " 25c 


" 




\ The Submarine Shell 


7 


4 


2 «' 25c 


Sperial 




4 Teddy, or The Runaways 


4 


4 


2)^ '• 2SC 


Free 


J The Time of His Life 


6 


3 


2>^ " 25c 


<( 




\ The Troubling of Bethesda Pool 


2 


12 


Y^ " 25c 


« 




« Valley Farm 


6 


6 


2Yz " 25c 


« 




J The Village School Ma'am 


6 


5 


2 " 25c 


<( 




2 WiUowdale 


7 


5 


2X " 25c 


M 




*| For « special " royalties 


, see 


catalogue descriptions foi 






J detailed information. 






^ BAKER, 5 Hamilton 


Place, Boston, Mass* 




^F^V ^v^^^r^F^^'^'^^ir^^F^'IF'iP 


r^n« 


pr^ipr 


'^"'^^V^^'^^ 


F^F^^ 





IDOWANNA 

A Play for Children in One Act 



By 
DOROTHY WALDO 

Author of *' Kid Cwlers,'^ *'A Full Housed 
"Sylvia's Ajints,'' etc. 



NOTICE TO PROFESSIONALS 

This play is published for amateurs only. Professional com- 
panies are forbidden the use of it in any form or under any 
title, without the consent of the author, who may be addressed 
in care of the publishers. 



BOSTON 

WALTER H. BAKER & CO. 
1919 



/< 



IDOWANNA 



CHARACTERS 

Amy Girl. 

Nurse. 

I-Don't-Want-To, w/io usually aptears as "Idowanna, 

coffee-pot. 

Knife. 

Bread. 

I Will. 

All but the first two parts may be played by boys or girls. 
Scene. — A nursery. 
Time in Playing.— Twenty mmutes. 




Copyright, 1919. by Walter H. Baker & Co. 

SEP 26 1919 TMP92-007586 

©GI.D 52677 



Idowanna 



The scene opens in a nursery, with a table laid for break- 
fast in c, up stage. Amy Girl is standing in c, down 
stage, with Nurse putting the finishing touches on her 
toilet. Amy is a little girl, but not too little; in fact, 
she is almost ready to graduate front the nursery to the 
mysterious land of down-stairs-for-all-your-meals. On 
this particular morning, she has unfortunately and evi- 
dently gotten out the wrong side of bed. 

Amy {yawning). Oh, I don't see why I had to ^et 
up ! I'm so sleepy ! 

Nurse. Now, Miss Amy, don't be acting like a bear 
with a sore thumb just because you ^ot out the wrono- 
side of bed. If you was a little poor child *" 

Amy. I'm so sick of hearing about a little poor child ' 
I m not a little poor child, and I don't have to support my 
father and mother and seven little brothers and sisters 
and I don't see why I should get up if I don't want to ! 

Nurse. Well, you're up now, anyways, and I don't 
suppose you'll want to be going back to bed out of spite. 
So come here now, and let me tie this pritty yeller ribbon 
on your hair. 

Amy. I don't want to wear that ribbon. I want to 
wear the old rose one. 

Nurse. Oh, come now, darlin' ; you know your daddy 
likes this because it just matches the green on your little 
dress. Then we'll have some nice breakfast. 

Amy. I won't wear that ribbon, and I don't want any 
breakfast. Nothing but old bread and coffee and stuff 

Nurse. Oh! Oh! Oh! and wasn't the fizzlegy 
teacher only yesterday telling you with her own ears to 



4 IDOWANNA 

keep your indigestions working? How can you keep 
'em working without nothing to work with? 

Amy. I don't care, I shan't eat any breakfast if I don't 
want to ! 

Nurse. Now, Miss Amy, whatever has got into you 
this morning ! On your birthday too ! 

Amy. That's just it — on my birthday! I just have to 
spend my whole hfe being made to do things I don't want 
to ! When I am grown up, I shan't do one single thing 
I don't want, want, want to ! 

Nurse. Not even when your old nurse 

Amy. Old nurse! What's an old nurse but the per- 
son who is hired to make you do what you don't want to? 

Nurse {angry at last). Very well. Miss, I tell you 
one thing. When you get that world of yours, you won't 
have anybody to be your nurse if nobody has to do any- 
thing she doesn't want to ! Now you can just stay here 
all alone while I go tell your mother that a horrid naughty 
Johnny Jones lives here, and not her little daughter at all ! 

[Exit Nurse, in high dudgeon. 

Amy. Now she's mad and gone to tattle, and I never 
did a thing! I don't care! On my birthday, too! But 
I don't want to be up. Still, I don't w^ant to go to bed. 
I don't want to be hungry, though, — but I don't want to 
eat that old breakfast ! I don't want to, I don't want to, 
I don't want to ! (She has spoken the last sentence very 
fast, without a pause. As she finishes the last word, a 
curious figure suddenly appears. He is I-Don't- Want- 
To, and he wears a parti-colored fool's costume. Hi's 
ears and hands are little balloons, and flap when he walks. 
A^TY, a hit frightened.) Where did you come from? 
Why are you here ? 

{Wherever he is, I-Dont- Want-To makes himself 
thoroughly at home, and a hit disagreeable. Even 
as he talks to Amy, he clambers about the room, 
rocking the chairs and tzveaking Amy's hair.) 

I- Don't- Want-To. I'm Idow^nna. You called me. 
Amy. Oh, no, I never 



IDOWANNA 5 

Ido. Yes, you did. Any girl who calls me three times 
on her birthday without breathing between, gets me. 

Amy. But you look so queer! What — what will hap- 
pen ? 

Ido. Stupid, just what you said. Nothing you don't 
want to ! 

Amy. You mean I don't have to do anything I don't 
want to all day long? 

Ido. That's the cheese ! As long as I'm here, you 
don't have to, nor nobody else don't neither. 

Amy. How wonderful! All day! What'U I do first? 
Guess I'll eat my breakfast. Won't you have some bread 
or a cup of coffee or something? 

Ido. Nope. I've done et mine. 

Amy. That isn't very good grammar. 

Ido. Sure, I know ut. 

Amy. Well, if you know it, why don't you talk good 
grammar ? 

Ido. 'Cause idowanna. Anyhow, it's pa's fault. His 
name was Didn't- Want-To, but he's past and gone. Any- 
how, he didn't want to learn me nothin'. 

(Ido. lies flat on his hack with his legs in the air in just 
such a position as to he very much in Amy's way.) 

Amy. Well, I don't think it sounds very well, but if 
you don't want to I suppose it's all right. Now would 
you mind getting up so I can get my breakfast ? 

Ido. Naw. 

Amy. I think you are mean. Why not? 

Ido. {rolling over on one elhow, and sticking out his 
tongue disagrceahly). 'Cause idowanna, see? An' I got 
a brother named Iwon't. He's lots bigger and crosser 
than me ; I'm sweet natured, I am. 

Amy. I'll call nurse, and she'll make you get up. She 
could make your big brother too, even if he got right 
down on the floor. 

Ido. Sure she could, but she won't come. 

Amy. She always does. 

Ido. Yeah, up till to-day. But to-day she don't hafta 
if she donwanna. 



O IDOWANNA 

Amy. Very well, then, stay where you are, hateful. 
I'm going to have some coffee. {She climbs over Ido., 
who grabs at her ankles, and goes up to the breakfast 
table. On it are a coffee cup and pot, a knife, and a 
nice homely loaf of bread. She reaches out her hand to 
pick up the coffee-pot, but it suddenly rolls out of her 
reach and falls on the floor. This is accomplished by 
tying a bit of white thread to the handle of the pot, and 
running it through a double-headed tack stuck in the 
table, down the table leg, and through other double- 
headed tacks across the floor and off stage. Pidling the 
thread jerks the pot out of place very easily.) Oh, oh, 
what happened ? I didn't even touch it. 

Ido. I guess he don' wanna be drunk up to-day. 
(Amy puts her hand upon the loaf of bread, which jerks 
away from her. She attempts to pick up the knife and 
the same thing happens.) He won't be cut, nor he do 
the cutting. They don't none of them seem to want to 
do nothing, and they don't have to for you to-day. 

Amy. But can't I have any breakfast? 

Ido. Not if they don't want to give it to you. 

Amy. There's some oatmeal there; I hate that, but I 
suppose I could eat it. Would it let me ? 

Ido. Oh, I don't expect old oatmeal would move. 
He's a lazy cuss. All he wants is to lie still in a dish and 
get sticky. 

AiMY. Oh, how horrid you are ! I wish you hadn't 
come ! 

Ido. Isn't that just like the fickleness of women? An 
hour ago you were planning to spend your life with me, 
and now you " hate me." 

Amy. Well, but I didn't think 

Ido. Of course not — just like a woman. 

Amy. But I didn't know that everything else wouldn't 
do what it didn't want to either ! 

(Amy is almost on the edge of tears.) 



Ido. There you go again, just like a 

Amy. Oh, will you keep still! I'm not a woman; 



IDOWANNA 7 

I'm just a little girl, and I want my b-b-breakfast. 
Mother ! Mother ! 

Ido. No use calling her, she won't come. 

Amy (very sad indeed). Doesn't she want to either? 

Ido. Of course she does. Mothers is awful poor 
fools. But she ain't let. 

A.MY. Who ain't — isn't letting her ? 

(At this inquiry, Ido. glances in startled fashion about 
the room. Then he shakes himself and shudders, 
answering with his finger on his lips. ) 

Ido. Sh ! Sh ! I can't tell you. (He goes up very, 
close to whisper in her ear.) He's the only thing on 
earth I am afraid of ! 

Amy. Oh, is he very terrible? He must be if he can 
keep my mother away from me ! 

Ido. Horrible ! He's killed hundreds of my little 
brothers and sisters. My twin brother dassent even stay 
in the room with him, and I'm not overly fond of being 
near him myself. 

Amy. Oh, I don't want to see him. 

Ido. That's the talk. Of course you don't. You'd 
ruther play with me; I'm a nice feller, I am, and you'd 
hate him. He'd boss you all around. 

Amy. But if mother can't come, and nurse won't 
come, and the food won't be eaten, will I starve ? I don't 
want to starve ! I want to keep on having a good time 
not doing anything I don't want to ! 

Ido. You betcha ! It's a great life if you don't 
weaken ! But I warn you of one thing — all the things 
that don't have to do nothing they don't want to, will 
be around to have you entertain them. Here come some 
of them now. 

(Bread, Knife, and Coffee-Pot enter. These are fiat 
cardboard figures with human heads, hands and feet. 
They zvalk sideways, keeping their fronts always to 
the audience.) 

Amy. What shall I say to them? Are they mad at 
me ? What shall I do ? Please tell me what to do ! 
Ido. Naw, ido wanna. 



8 IDOWANNA 

Coffee (wiping his forehead). Whew! I'm hot I 

Bread. Simply baked ! 

Amy. Won't you sit down and cool off? 

Coffee. Thanks, I'm always better if I stand a while 
in a cool place. It clears my brain. I'm grateful to you, 
Miss, for freeing us to-day. I was getting pretty badly 
strained shut up so long. 

Bread (who speaks always in a rather slow voice). 
Yes, and if you had risen as early as I did this morn- 
ing 

Knife (whose voice is rather sharp and nasal). Yes, 
before you were light ! 

Coffee. Oh, shut up, Knife, with your sharp remarks, 
you make me boil. 

Amy (who has been watching them timidly, nozv he- 
coming afraid as the three glower at each other). Oh, 
please don't be cross. 

Bread. Don't be afraid, little girl, anybody can settle 
Coffee. But you must understand that Knife and I have 
a feud of many 3'ears standing. It began so long ago 
that we don't remember what it was about, but of course 
we keep it up just the same. My family considers him 
very dull. 

Knife. That may be, but my family has cut his 
wherever they've met for generations. 

Bread (a hit miffed). But you've had to look sharp 
to do it, just the same. 

Knife. Well, I notice we don't go stale at the busi- 
ness, like some people I could mention. 

Coffee. Come, come, stop your quarrelling. You 
don't want to scare the little girl on her birthday. Now 
I've been standing a while, I feel stronger. Let's do our 
little dance for her. She set us free for to-day. Come 
on, Knife. 

Knife. No, I don't want to just now. You and 
Bread do it better together. Maybe at the end I'll cut in. 

(They dance a curious, pantomimic dance, with Knife, 
much lighter on his feet than the other two, jump- 
ing around them at the end. A good tune is the old 
Scotch, " The Hundred Pipers.") 



IDOWANNA 



Amy {standhuj at one side, and speaking to Ido.). 
They don't seem mad at me. They aren't paying any at- 
tention to me at all. And I just go on getting hungrier 
and hungrier. Of course 1 can't get anything *to eat. I 
wonder if they would mind if I went down to the pantry. 

Ido. Naw, they don't care. But the pantry won't 
help you any. 

Amy. But there's lots of food down there. 

Ido. Sure, but as soon as you get down there, it won't 
have to be et, and I'll tell the world that it won't want to. 

Amy. But I'll starve. 

Ido. Sure you will. Look at all the countries where 
nobody don't do nothing he don't want to. They're all 
having a swell starve. 

Amy. But isn't there any way out of it ? 

(During all the conversation between Amy and Ido., 
Bread, Knife and Coffee half listen, half follow 
their own devices.) 

Ido. (answering Amy reluctantly, with furtive glances 
about). Y-Yes. ' 

Amy. Tell me. 

Ido. Naw, idowanna. 

Amy. You make me perfectly furious. I don't want 
to is no reason at all. You're just disagreeable. 

Ido. You asked me to come to see you. Now you 
got me here, you got to entertain me. 

Amy. But the Bible says 



Ido. My folks don't hold much by the Bible 



Amy. You're a mean old heathen, you are. Bread, 
Knife, Coffee, won't you help me? 

Bread. Any way we can, lady, that isn't in the eating 
line. 

Amy. Would you let me starve to death ? 

Coffee. Oh my, no — you must just train yourself to 
go without eating. Take me, for instance; I never eat 
a thing but egg-shells, and every one knows that they 
aren't edible, so there are no grounds for complaint. 

Amy. But I can't eat egg-shells. 

Coffee, Better try it ; they settle the stomach. 



10 ^ IDOWANNA 

Amy. I suppose Til just have to die here all alone. 
I guess I better finish dressing so they'll be sorry and 
think how nice I look when they find me here dead. I 
just hope they're good and sorry. {She goes over to 
pick up the hair ribbon zvhich has lain all this time on 
the floor. It jerks out of her hand.) Oh, dear! 

Ido. She don't want to be worn, I guess. 

Amy. I guess it's lucky I have some of my clothes on, 
or I'd have had to stay in bed. 

Ido. I doubt if bed would have you to-day. He'd 
probably go out for an airing. 

Amy. Well, I think ribbon's mean. I won't hurt it — 
her — by wearing her. 

Knife. On, come now, little girl. If you were a 
ribbon would you want to be doubled up in a hard knot 
and bounced up and down on some one's head all day 
long? It's so much pleasanter to be stretched out in a 
quiet bureau drawer, doing deep breathing all day long. 

Amy. But if food doesn't want to be eaten, and 
clothes worn 

All. They don't have to if they don't want to. You 
said so. 

Amy. Won't any one help — oh, please, won't some- 
body help me ? 

All. Sh — sh 

Amy. I think you're all horrible. You tell me there's 
some way to help, and you won't tfell me what it is. 

Ido. Naw, we don't want to. 

Amy. Well, if you think I am going to die to please 
you, you are all mistaken, for I won't. 

Ido. {speaking flippantly). Ah there, brother! 

Amy. And somehow I'll get something to eat, I will. 

{As she speaks the last word, Bread, Knife, and 
Coffee start back, staring at each other in consterna- 
tion. Table begins to jerk, and Ido. drops to the 
floor, pricking one of his balloon hands so that it 
collapses. ) 

Ido. Ow! Ow! 

Amy. Why, what's the matter? 



IDOWANNA 1 1 

Ido. Nothing, nothing. Just a Httle attack of indiges- 
tion. 

Knife {trying to distract Amy. Table is lumbering 
in jerks toward the exit). There goes Table. % 

Amy. He shan't go ; I'll stop him, I will. (She rushes 
tozvard the table, seizes it, and with no difficulty pushes ^ 
it back into place, where it remains quietly. Ido. writhes 
on the floor, groaning.) Why, that was as easy as pie. 
What is the matter, Ido ? 

Ido. {speaking with difficulty). Nothing, nothing, I 
just don't feel very well. 

Bread (speaking as if he were scared). We'd better 
be going, I think. 

(The others all nod, and they work toward the door.) 

Amy. Oh, no! Please don't leave me alone with 
Idowanna, I'm afraid of him. (They hurry out of the 
door, and she pursues them. Ido. pulls himself up to a 
sitting position, and sits shaking, and feeling of himself. 
Amy returns, holding in her hands a knife and a loaf of 
bread.) They just simply disappeared, and left just these 
shells of themselves. Bread — are you in there? (She 
shakes the loaf, then puts it up to her nose.) Oh, how 
good it smells ! I do so want a slice. But you can hardly 
cut up and eat a person you've just been talking to. But 
I'm so hungry, I just got to have something to eat. Even 
if I have met you before, Mr. Bread, I'm a desperate 
woman. I will eat you,, I will, I will, I will. (She utters 
the last very firmly, and attacks the bread with the knife. 
At the same moment, Ido. howls like a dog and scuttles 
on all fours under the table, whence he peers out once in 
a while in terror. At the same moment, I Will appears. 
He is also in motley costume, but is in manner, motion, 
and in general alertness in every zvay the direct opposite 
of Ido.) Gracious, how you scared me, Ido; whatever 
is the matter? Oh! Who — who are you? 

I Will (speaking pleasantly). I am your servant. 
You called me. 

Amy. Why, I never saw you before. 

I Will. Yes, you called me. I have always been 



i 



12 



IDO WANNA 



your servant, though you haven't used me very much. 
Usually, of course, you can't see me but you called me 
three times on your birthday, so I came. What can I 
do ^or you ? 

Amy (on the edge of tears again). I'm dreadfully 
. hungry. 

I Will. You have bread and a knife in your hand. 
Why don't you eat ? 

Amy (doubtfully). Well, I-Don't-Want-To 

I Will. Oh, yes, he's here, is he? He's the biggest 
liar alive. Where is he? (He searches about, finally 
discovering Ido. under the table.) Ah, there you are, 
Ido ; no use hiding. Come on out and take what is com- 
ing to you. 

Ido. (shrieking). Idowanna, idowanna, you great big 
bully. 

(I Will hauls him out from ujider the table, and they 
fight. In the quarrel, Ido.'s balloons are punctured 
one at a time, and he collapses, kicking.) 

I Will. Don't you bite me, Ido; you know I'm a 
lot stronger than you are. 

Ido. Yes, you mean old butcher. You killed all my 
little brothers and sisters, and now you're going to spank 
me. Oh! Oh! Oh! 

I Will. Stop your snivelling, Ido. You aren't worth 
spanking. Get out! There's no room for both of us 
here. 

(Ido. drags out of the room, turning to stick out his 
tongue spitefidly at I Will as he goes.) 

Amy. Oh, thank you ; he was so horrid. But I don't 
see now how you got rid of him. I was dreadfully afraid 
of him. 

I Will. But you were the person who did get rid of 
him. 

Amy. I ? 

I Will. To be sure. Certainly. You mentioned my 
name and he yelled. He always does. If you say I am 
one of your servants, he clears out. 



IDOWANNA 13 

Amy. Why didn't you come sooner? 

I Will. You didn't call me. 

Amy. But you might have come without calling. 

I Will. We can't. You see, it's one of our laws, 
that we mustn't come unless we are called. Then, we 
come at once. But I tell you what I did do for you. Do 
you remember that your mother didn't come when you 
called? 

Amy. Yes. 

I Will. Yes. That was because her I Will and I 
got together, and made a plot. You see, her I Will 
wouldn't let her come when you called because we hoped 
that then you would call me. You really don't need an 
I Will much when you have a mother. She does every- 
thing for you. It worked, too. But now come on. 
Won't you heat up the toaster and have some nice hot 
toast for breakfast ? 

Amy. Yes, indeed, I will, I will, I will. 



CURTAIN 



I 



HONEYMOON FLATS 

A Comedy in Two Acts 

By Hallie Hale Hassey and Gladys Ruth Bridgham 

Six males, eight females. Scenery, a single interior; costumes, 

modern. Plays an hour and a quarter. Babies have come to all the 

tenants of " Honeymoon Flats," where no ^babies are allowed, when all 

of a sudden the landlord threatens a visit.' Mrs. Murphy, the janitor's 

wife, agrees to take care of the little offenders until he has gone, but a 

reporter gets wind of Mrs. Murphy's " quadruplets " and prints a story 

about them, and the beans are spilled. Fast and furious fun that can be 

strongly recommended. A screaming farce. 

Pricey 2^ cents 

CHARACTERS 
RoscoE MoNTFORD, owtiev of Honeymoofi Flats, 
Mike Murphy, ihejajiitor. 
Harry Brown, a tenant. 
John Gleason, an insurance agent. 
Tom Carson, reporter on "Bosto?i Ainerican** 
McCarthy, police officer. 
Mrs. Montford, the landlord' s wife, 
Mrs. Mvkyhy, the Janitor s wife. 
RosiE Murphy, their little girl, 
Mrs. Brown ] 
Mrs. Gray . . 

Mrs. Jones [ ^^«^'^^^- 
Mrs. Smith J 
Helen Dearborne, Mrs. Gray* s sister. 

LITTLE MISS AMERICA 

And The Happy Children 

A Patriotic Play in One Act 

By Mary Moncure Parker 

Twenty-four children, boys and girls, ad libitum. Costumes or no 

costumes, as convenient or desired ; scene, a platform only or a regular 

schoolroom setting^ as preferred. Plays forty minutes. A jingle history 

of the United States attractively arranged in play form. A sugar-coated 

presentation of American history sure to interest both its juvenile players 

and its audience. Presents a complete summary of the history of the 

United States in ingenious dramatization. Strongly recommended. 

Price, 2J cents 

WOMEN IN WAR 

A Patriotic Entertainment in One' Act 
By Esther Godshaw 
Eleven females. Costumes historical ; scene, the usual arrangement, 
for tableaux. Plays twenty minutes. Tableaux representing the various 
women of history who have been prominent in the wars of the world, ac- 
companied by a descriptive reading developing every possible patriotic 
aspect of this fruitful theme. An extremely pretty and timely entertain- 
ment, suitable for almost any occasion. Well recommended. 
Pricet /J cents 



THE TIME OF HIS LIFE 

A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
females. Costumes, modem; scenery, two inteiiors, or can be playe.d in 
one. Plays two hours and a half. A side-splitting piece, full of action 
and a sure success if competently acted. Tom Carter's little joke of im- 
personating the colored butler has unexpected consequences that give him 
•' the time of his life." Very highly recommended for high school per- 
formance. Fricct 2j cents 

THE COLLEGE CHAP 

A Comedy Drama in Three Acts by Harry L. Newton and John 
Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, 
two interiors. Plays two and a half hours. An admirable play for ama- 
teurs. Absolutely American in spirit and up to date ; full of sympathetic 
interest but plenty of comedy ; lots of healthy sentiment, but nothing 
« mushy." Just the thing for high schools ; sane, effective, and not dif- 
ficult. Price^ 2S cents 

THE DEACON^S SECOND WIFE 

A Comedy in Three Acts by Allan Abbott. Six males, six females. 
Costumes, modern ; scenery, one interior, one exterior. Plays two houri 
and a half. A play of rural life specially written for school performance. 
All the parts are good and of nearly equal opportunity, and the piece is full 
of laughs. Easy to produce ; no awkward sentimental scenes ; can b« 
strongly recommended for high schools. Pricey 2^ cents 

THE TEASER 

A Rural Comedy in Three Acts by Charles S. Allen. Four male, three 
female characters. Scene, an easy interior, the same for all three acts ; 
costumes, modern. Plays an hour and a half. An admirable play for 
amateurs, very easy to get up, and very effective. Uraliah Higgins, a 
country postman, and Drusilla Todd are capital comedy parts, introducing 
songs or specialties, if desired. Plenty of incidental fun. 
Price^ 2^ cents 

COUNTRY FOLKS 

A Comedy Drama in Three Acts by Anthony E. Wills. Six males, five 
females. Costumes, modern; scenery, one interior. Plays two and a 
quarter hours. An effective and up-to-date play well suited for amateur 
performance. All the parts good and fairly even in point of opportunity ; 
the ladies' parts especially so. Easy to stage, and well suited for schools. 
Well recommended. Pricey 2^ cents 

THE MISHAPS OF MINERVA 

A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- 
males. Costumes, modern ; scene, an interior. Plays one and a hall 
hours. An exceptionally bright and amusing little play of high class and 
recommended to all classes of amateur players. Full of action ani> 
laughs, but refined. Irish low comedy part. Strongly endorsed. 
Price, 2^ cents 



r 



Plays and Novelties 


That Have Been 


'^ Winners " 




Males 


Females Time 


Trice 


Royalty 


The Americana 




II 


l>^ hrs. 


25c 


Free 


Anita's Trial 




II 


2 


25c 


" 


Art Clubs are Trumps 




12 


Vz " 


25c 


i€ 


Behind the Scenes 




12 


'/' ;; 


25c 


(» 


The Camp Fire Girls 




15 




25c 


u 


A Case for Sherlock Holmes 




10 


1;^ " 


25c 


« 


The Farmerette 




7 


2 " 


25c 


.» 


Getting the Range 




8 


'A ;; 


2SC 


" 


tier First Assignment 




10 




15c 


« 


Hitty's Service Flag 




II 


1% '« 


25c 


'♦ 


Joint Owners In Spain 




4 


y2 " 


25c 


^5.00 


A King's Daughter 




II 


2 " 


25c 


Free 


The Knitting Club Meets 




9 


'A " 


25c 


<( 


A Lady to Call 




3 


y2 " 


15c 


«' 


Leave it to Polly 




II 


1/2 " 


25c 


M 


The Minute Man 




13 


1 1< " 


25c 


«< 


Miss Fearless & Co. 




10 


2 " 


250 


<l 


A Modern Cinderella 




16 


i/z " 


25c 


M 


Moth= Bails 




3 


/z •" 


25c 


« 


Rebecca's Triumph 




16 


2 « 


25c 


«♦ 


The Thirteenth Star 




9 


l/z " 


25c 


« 


Twelve Old Maids 




15 


I " 


25c 


;< 


An Awkward Squad 


8 




X " 


15c 





The Blow°Up of Algernon Blow 


8 




/z " 


»5c 


<< 


The Boy Scouts 


20 




2 " 


25c 


" 


A Close Shave 


6 




/z " 


15c 


" 


The First National Boot 


7 


2 




'5c 


■< 


A Half- Back's Interference 


10 




M " 


'5c 


i< 


His Father's Son 


14 




iX " 


25c 


i« 


The Man With the Nose 


8 




H " 


•5c 


(1 


On the Quiet 


12 




ly, •' 


25c 


:« 


The People's Money 


II 




iH " 


25c 


« 


A Regular Rah ! Rah I Boy 


14 




IX " 


25c 


« 


A Regular Scream 


II 




iX " 


25c 


<i 


Schmerecase in School 


9 




I 


^S"^ 


«« 


The Scoutmaster 


10 




2 '• 


25c 


« 


The Tramps' Convention 


17 




lyz " 


25c 


:« 


The Turn in the Road 


9 




i>^ " 


15c 


•■» 


Wanted— A Pitcher 


II 




yz " 


15c 


■' 


What They Did for Jenkins 


14 




2 «« 


25c 


■'' 


Aunt Jerusha's Quilting Party 


4 


12 


IX " 


25c 


« 


The District School at Blueberry 










Corners 


12 


17 


I 


25c 


" 


The Emigrants' Party 


24 


10 


I 


25c 


<• 


Miss Prim's Kindergarten 


10 


1 1 


1J4 " 


25c 


(( 


A Pageant of History 


Any number 


2 " 


25c 


« 


The Revel of the Year 


« 


" 


H " 


15c 


« 


Scenes in the Union Depot 


« 


« 


I " 


25c 


«< 


Taking the Census in Bingville 


14 


8 


I'A " 


25c 


« 


The Village Post-Office 


22 


20 


2 " 


25c 


l< 


Women in War 




II 


y " 


»5c 


« 



*^ 



BAKER, 5 Hamilton Place, Boston, Mass. 



'^^F^r^ 



Plays for Colleges , 


and 






Males 


Femah 


s T 


The Air Spy 


12 


4 


\y. 


Bachelor Hall 


8 


4 


2 


The College Chap 


II 


7 


~yi 


The Coloaei's Maid 


6 


.1 


2 


Daddy 


4 


4 


^Yz 


The Deacon's Second Wife 


6 


6 


2>2 


The District Attorney 


lO 


6 


2 


The Dutch Detective 


5 


5 


2 


An Easy Alark 


5 


2 


>^ 


The Elopement of Ellen 


4 


3 


2 


Engaged by Wednesday 


5 




^'A 


The Farmerette 




7 


2 


For One Night Only 


5 


4 


2 


Hamilton 


II 


5 


2 


Higbee of Harvard 


5 


4 


2 


Hitty's Service Flag 






iX 


The Hoodoo 


6 


12 


2 


The Hurdy Gurdy Girl 


9 


9 


2 


Katy Did 


4 


8 


i>^ 


Let's Get Married 


3 


5 


2 


London Assurance 


lO 


3 


2 


Lost a Chaperon 


6 


9 


2 


The Man from Brandon 


3 


4 


>^ 


The Man Who Went 


7 


3 


2>^ 


The Man Without a Coun.ry 


46 


5 


i;^ 


Master Pierre Patelin 


4 


I 


''A 


Me and Otis 


5 


4 




The Minute Man 




13 


"^'A 


Mose 


II 


10 


^'A 


Mr. Bob 


3 


4 


* /'2 


Mrs. Briggs of the Poultry Yard 


4 


7 


2 


Nathan Hale 




4 


2>^ 


Nephew or Uncle 


8 


3 


2 


Professor Pepp 


8 


8 


2>^ 


A Regiment of Two 


6 


4 


2 


The Revenge of Shari-Hot-Su 


3 


4 


^A 


The Rivals 


9 


5 


^-A 


The Romancers 


J 




2 


The Rose and the Ring 


i6 


5 


m 


Sally Lunn 


3 


4 


^A 


The School for Scandal 


12 


4 


2^ 


She Stoops to Conquer 


15 


4 


^A 


Step Lively 


4 


10 


2 


The Submarine Shell 


7 


4 


2 


The Thirteenth Star 




9 


iM 


The Time of His Life 


6 


3 


2>< 


Tommy's Wife 


3 


5 


'^>^ 


The Twig of Thorn 


6 


7 


^^^ 



LIBRARY OF CONGRESS 




I 



015 793 133 7 % 



:i5c 


rree 


2-,c 


<i 


25c 


« 


25c 


<i 


25c 


<f 


25c 


« 


15c 


(1 


25c 


<« 


25c 


« 


25c 


« 


15c 


(« 


50c 


Special 


15c 


Free 


25c 


" 


25c 


<« 


25c 


« 


25c 


« 


50c 


Special 


15c 


Free 


25c 


•< 


15c 


" 


25c 


Special 


25c 


Free 


50c 


« 


15c 


<< 


25c 


" 


15c 


<i 


15c 


" 


25c 


" 


50c 


g 10.00 


25c 


Free 


25c 


<i 


25c 


« 


15c 


« 


»5c 


« 


25c 


« 


25c 


« 


25c 


« 


15c 


« 


15c 


<( 


25c 


« 


25c 


Special 


25c 


Free 


25c 


« 


25c 


<« 


60c 


<i 



For " special " royalties, see catalogue descriptions for 
detailed information. 

BAKER, 5 Hamilton Place, Boston, Mass* 



tiF^F^ 



A 



LIBRARY OF CONGRESS 

iilllllMlllllllilllll. 

015 793 133 7 • 



Hollinger Corp. 
pH 8.5 



